To look back at Grammys history is to induce comedy. A scroll through the accolades reveals a litany of confounding wrong turns, where the most prestigious music awards have, at times, favored the inconsequential over the groundbreaking. Take, for instance, the 2002 Album of the Year winner: the O Brother, Where Art Thou? soundtrack, which triumphed over Outkast’s genre-defining Stankonia. Or consider the 2013 ceremony, where Mumford & Sons’ Babel edged out Frank Ocean’s critically acclaimed Channel Orange. And who could forget the 2018 debacle, when Bruno Mars’ 24K Magic took home the top prize, overshadowing Kendrick Lamar’s Damn, the first non-classical or jazz album to win a Pulitzer Prize for Music? These moments are not just missteps; they are emblematic of the Recording Academy’s struggle to keep pace with the evolving musical landscape.
The Recording Academy has long been characterized by its conservative approach to awards voting. This institution, steeped in tradition, often buckles under the weight of forward-thinking momentum. Despite the cultural shifts that shape the music industry, the Academy’s definition of what constitutes “good” music remains stubbornly narrow. They seem to favor classic songcraft, organic instrumentation, and deep sincerity—qualities that often exclude innovative and genre-defying works. Even nearly a decade after the #GrammysSoWhite movement, the perception persists that a certain paleness still helps in securing nominations and wins.
As the Grammys approach, breakout pop stars Charli XCX, Chappell Roan, and Sabrina Carpenter are all vying for top honors, including Record of the Year, Song of the Year, and Album of the Year. This year’s ceremony has the potential to disrupt the stale patterns of the past, particularly with the emergence of these new voices in pop music. However, the Academy’s history suggests that hope may be misplaced.
For months, Beyoncé’s Cowboy Carter—a bold reclamation of country music by a Black artist—felt like the subversive pick that could finally honor the Grammys’ most-winning artist, who has often been overlooked for the top prize. Yet, as 2024 unfolded, the youth-driven musical landscape began to overshadow even Beyoncé, making her seem like an industry crony in comparison to the fresh, vibrant talents emerging.
Charli XCX’s Brat stands out as the defining album of the past year, capturing the zeitgeist and even making headlines in a presidential campaign. Despite her acclaim since her 2013 debut, True Romance, Charli has yet to win a Grammy. This absence of recognition is perplexing, especially considering that the Grammys have not honored a dance album in the major categories since Daft Punk’s Random Access Memories in 2014. Even then, the Academy seemed more comfortable with the album’s nostalgic nods to ’70s funk than with the cutting-edge sounds of contemporary dance music. The innovative production of PC Music’s AG Cook, which underpins much of Charli’s work, may be too avant-garde for the Academy’s tastes.
Sabrina Carpenter, also in the running for her first Grammy win, brings a different flavor to the competition. With six albums under her belt, her breakthrough project, Short n’ Sweet, showcases classic pop songwriting, largely crafted by industry hitmaker Amy Allen. However, Carpenter’s playful, outlandish persona may not resonate with Grammy voters, who often view cheeky winks as a blasphemy against the sanctity of music. The Academy’s tendency to favor earnestness over fun could leave Carpenter empty-handed once again.
Chappell Roan presents an intriguing case as a representative of pop’s new school. With a powerful voice and intricate songwriting, she seems like a natural fit for Grammy recognition. However, her outspoken personality and unabashedly queer subject matter might alienate the more conservative wing of the Academy. This is a group that has historically favored safe choices, as evidenced by their decision to nominate The Beatles for Record of the Year in 2025, a move that feels more like a nostalgic nod than a reflection of current musical innovation.
As the Grammys loom on the horizon, the anticipation is palpable. Will the Academy finally embrace the vibrant, diverse sounds of contemporary music, or will they retreat into the safety of their traditional preferences? The stakes are high, not just for the artists involved, but for the future of the awards themselves. The outcome could either signal a much-needed evolution in the Grammys’ approach or reinforce the notion that the Academy remains out of touch with the very artists it aims to honor.
